Academy

Academy

MIARD Exhibition, Opening November 28
MIARD deSingel Internationale Kunstcampus student workshops, September 20
MIARD students exhibit new design work as part of a parallel series of exhibits and events with the international exhibition ‘Drawing Ambience’ holding 50 drawings of the Alvin Boyarsky and the Architectural Association collection.

The exhibitions take place at deSingel Internationale Kunstcampus, Antwerp.
Flanders Architecture Institute, deSingel International Arts Campus in collaboration with KULeuven and Piet Zwart Institute, MIARD.
Curation and scenography: Riet Eeckhout and Arnaud Hendrickx

‘Kate Briggs’s This Little Art shares some wonderful qualities with Barthes’s own work – the wit, thoughtfulness, invitation to converse, and especially the attention to the ordinary and everyday in the context of meticulously examined theoretical and scholarly questions. This is a highly enjoyable read: informative and stimulating for anyone interested in translation, writing, language, and expression.’

— Lydia Davis, author of Can’t and Won’t

‘In This Little Art, Kate Briggs looks at the “everyday, peculiar thing” that is translation, testing it out, worrying at its questions. She deftly weaves her recurring threads (Roland Barthes, Crusoe’s table, The Magic Mountain, aerobic dance classes) into something fascinatingly elastic and expansive, an essay – meditation? call to arms? – that is full of surprises both erudite and intimate, and rich in challenges to the ways we think about translation. And so, inevitably, to the ways we think about writing, reading, artistry and creativity, too. As a translator, I’m regularly disappointed by what I read about translation – it feels self-indulgent, irrelevant in its over-abstraction – but This Little Art is altogether different. It comes to its revelations through practicality, curiosity, devotion, optimism, an intense and questioning scrutiny, as the work of a great translator so often does.’

— Daniel Hahn, translator of José Eduardo Agualusa and winner of the International Dublin Literary Award in 2017

‘Though it does not present itself as a memoir, a how-to guide, or a scholarly monograph, [This Little Art] derives its magic precisely from being all of these and more: gifting us not only with a genre-bending work of imaginative criticism, but also a fitting metaphor for all that the work of translation is, and can be.’

— Theophilus Kwek, Asymptote

All are welcome to celebrate THIS LITTLE ART by MFA core tutor Kate Briggs, published by Fitzcarraldo Editions
There will be a short reading +... Lees verder

‘Kate Briggs’s This Little Art shares some wonderful qualities with Barthes’s own work – the wit, thoughtfulness, invitation to converse, and especially the attention to the ordinary and everyday in the context of meticulously examined theoretical and scholarly questions. This is a highly enjoyable read: informative and stimulating for anyone interested in translation, writing, language, and expression.’

— Lydia Davis, author of Can’t and Won’t

‘In This Little Art, Kate Briggs looks at the “everyday, peculiar thing” that is translation, testing it out, worrying at its questions. She deftly weaves her recurring threads (Roland Barthes, Crusoe’s table, The Magic Mountain, aerobic dance classes) into something fascinatingly elastic and expansive, an essay – meditation? call to arms? – that is full of surprises both erudite and intimate, and rich in challenges to the ways we think about translation. And so, inevitably, to the ways we think about writing, reading, artistry and creativity, too. As a translator, I’m regularly disappointed by what I read about translation – it feels self-indulgent, irrelevant in its over-abstraction – but This Little Art is altogether different. It comes to its revelations through practicality, curiosity, devotion, optimism, an intense and questioning scrutiny, as the work of a great translator so often does.’

— Daniel Hahn, translator of José Eduardo Agualusa and winner of the International Dublin Literary Award in 2017

‘Though it does not present itself as a memoir, a how-to guide, or a scholarly monograph, [This Little Art] derives its magic precisely from being all of these and more: gifting us not only with a genre-bending work of imaginative criticism, but also a fitting metaphor for all that the work of translation is, and can be.’

— Theophilus Kwek, Asymptote

All are welcome to celebrate THIS LITTLE ART by MFA core tutor Kate Briggs, published by Fitzcarraldo Editions
There will be a short reading +... Lees verder

The research and graduation projects of seven students will be presented to the public, taking shape as seven different attitudes towards contemporary issues at stake in education. Together they address the question: How to Act Otherwise? The graduation projects are interconnected with and referencing each other, reflecting the research of a learning community exploring the possibilities of alternative pedagogical views and approaches. Herewith the presentation discloses different contexts, social, pedagogical aspects and present-day challenges in art and design education, in which the students are embedded. Apart from the presentation in TENT. an extra programme of workshops and events will be presented at V2 on Saturday afternoon 8 July.
Act Otherwise is generously hosted by TENT Welcomes.

“You are asked to remember that we are in a moment after Architecture (…), and to work accordingly.” Thus MOS Architects challenge the current with their manual “Office Policy.” For the fourteen graduation projects on display at the fifth floor of Het Nieuwe Institute, we ask you to remember we are past ‘interior architecture’ and to look accordingly.

During this exhibition, international designers from the Master of Interior Architecture: Research + Design [MIARD], Piet Zwart Institute, present projects that acknowledge “the multiplicity of genres, which we should playfully subvert,” to quote MOS Architects once more. Together, the projects are contributions to sketch new, expanded disciplinary narratives.

Whether serious proposals or intellectual dreamscapes, satirical reversals of roles or poetical explorations of materials and means of production, these projects all share the inclination to subvert. They question standard perceptions of design, architecture, social and cultural contexts; a line is more than a border.

This exhibition is a gathering of multidisciplinary design research projects that engage with contemporary positions on ‘the interior’ and the production of space. Here design as research is viewed as circulating along numerous pathways and scales, from the local to the global, from objects to observers, from attitude to architecture – carving a multifarious space to consider other forms of practice.

For nine days, a versatile group of artists showed their work in a winding route from the Witte de Withstraat, via Kromme Elleboog to the Boomgaardsstraat. The exhibition, which took place at MAMA, Galerie de Kromme Elleboog and WORM, brought together the work of the 10 artists who completed their MA Fine Art at the Piet Zwart Institute in 2017. The exhibition Crooked Elbow, Serpent Brain was accompanied by a comprehensive performance programme at Ubik and a publication of the same title, designed by Yin Yin Wong and published by Publication Studio Rotterdam.

Each year the graduating filmmakers, designers and artists of the Master Media Design and Communication of the Piet Zwart Institute celebrate their graduation by creating an event: screenings, lectures, and publications representing a diverse range of practice-based research. This year PZI Media Design adopts a two-day festival format spread across Het Nieuwe Instituut and KINO.

The festival includes work in progress by first year students of both the Lens-based Media and Experimental Publishing study paths.

For the first part of this festival, located at Het Nieuwe Instituut, the first year students of the Experimental Publishing path will present their trimester work Interfacing the Law. Later in the evening, graduating students present their graduation projects, and discuss their practice with guests.

Samira Damato (DE/MT) Pomegranate Seeds
Samira Damato is a filmmaker who explores various facets of love and nostalgia. With her transnational background, Samira has experienced various cultures as a distanced observer, and uses these experiences in her practice. Her films have been screened at international festivals

Sara Hamadeh (LB) The Face of a Refusing Machine
Sara Hamadeh is an artist and researcher with a background in film studies. Her current research seeks to offer a critical reading of images of war together with the politics of their production and distribution online.

Julia Kul (PL) The Ministry of Anomie
The Ministry of Anomie is a secret organisation that researches and develops the anomic policy. It gathers intelligence information and performs covert operations. Its sabotaging activities usually go unnoticed due to the MA’s radical invisibility and crashing inefficiency. The MA was founded long before Mossad, the KGB, and the Vatican City State. In 1783 the MA was blessed by 8th Dalai Lama. The MA is considered to be the actual 1990 Nobel Prize laureate: Gorbachev was just a front.

Colm O’ Neill (IE) Adversarial Interface
Colm O’Neill is a designer and researcher based in Rotterdam and Brussels. His work is concerned with mediations of digital literacy through graphical, user and programmatic interfaces. The research and practice that result follow the ideals of free and open source development models.

Ying Shi ‘Stone’ [CN /石颖] Bonsai
Stone Ying Shi is a film maker and visual artist who works with photography, 3d images and videos. She has a BA Film Directing (Editing Art and Technology) from Communication University of China in Beijing. Her current projects play with human bodies, colours and an unknown space.

Nataliya Sinelshchikova (RU) Screenscapes
Nataliya Sinelshchikova is a researcher and media artist with a background in graphic design. Her interests revolve around generative art, media specificities and the aesthetics of distortion as an inevitable part of our relationships with technology.

Xiting Xu ‘Chloe’ [CN /石颖] Fresh to Decay
Xiting Xu has a background of screenwriting and lens-base art. Her work is influenced by a variety of media such as film and cyber-culture. By combining the fictional narrative with real people’s online life, her work draws a unique picture of young people in the Internet age.

How to defend the access to knowledge in the current intellectual property regime? Interfacing the law is an attempt to experiment with and to openly discuss shadow libraries, piratical text collections and other forms of disobedient sharing. Interfacing each in their own way with legal and political frameworks, we want to consider those vibrant practices as experiments with the social contracts that link libraries, librarians, readers and books.

After a welcome by Het Nieuwe Instituut library staff, students from the XPUB program present four projects developed in the context of Interfacing the law. Followed by a discussion with Aymeric Mansoux and Séverine Dusollier. Moderation: Femke Snelting

Séverine Dusollier, Doctor in Law and professor at SciencesPo, Paris. She has carried out research in several European and national projects, namely for the Belgian Government, WIPO, the Council of Europe, UNESCO, the European Commission and Parliament. Her current research relates to intellectual property, copyright and IP limitations, the public domain and the commons.

Aymeric Mansoux, artist, musician and media researcher. His research deals with the defining, constraining and confining of cultural freedom in the context of network based practices. He is currently a PhD candidate at the Centre for Cultural Studies, Goldsmiths, University of London on the creative misunderstandings between art, politics and the law within free culture.

Femke Snelting, developing projects at the intersection of design, feminism and Free Software. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels.

Special Issue #3: Interfacing the Law is part of the PIET ZWART MASTER MEDIA DESIGN GRADUATE FESTIVAL 2017 followed by Screenings Friday 16, June @ 18:30 in KINO.

The Piet Zwart Institute Master Fine Art presents Community Satisfaction, a multi-location three-part project including talks, an exhibition, and a publication, organized by and featuring artists in year one of their MFA program, plus invited guests.

Trilogy
Trilogy is a talk and performance program in which invited guests consider alternative communities, hidden histories, and interdisciplinary dialogues. Trilogy aims to produce generative sites for discussion and navigate tensions between a perceived cultural core and those perceived to be on its peripheries. Trilogy will consider shared experiences, challenging universalist utopian claims.

T H IS I S A LL U R E​
Taking the form, following the path, mimicking the movement, shadowing and repeating. A mold of multiple approaches. A gathering of selected sculpture, video, text and performance in a presentation by 14 MFA artists and one guest, Pavel Kruk.

The Community Satisfaction Reader
A publication amassing practical and contextual information surrounding the exhibition and events, as well as a year working within the Piet Zwart Institute.

Guest bios
Irina Botea Bucan is an artist based in Birmingham and Bucharest. Over the past twenty years she has used multiple forms to consistently question dominant socio-political ideas. She develops her works through a process in which the performers are active participants. As a filmmaker her role is in constant flux, shifting from an observational to a reflective, participatory and performative mode.

Orlando Cairo is a community organizer and board member of Wi Masanga, the oldest running immigrant community center in the Netherlands. The space was founded in the early 1970s as a squat by Afro-Surinamese immigrants and still serves as a hub for that community in Rotterdam-West.

Florian Cramer is applied research professor with Creating 010, Hogeschool Rotterdam. He has a background in comparative literature and art history combined with DIY culture, technical-critical obsessions with ‘radical’ media and analog filmmaking, and a research interest in both structural poetics and politics of the arts.

Nicole Jordan is a singer-scholar based in Rotterdam, with an interest in the psyche of the performing artist. She teaches Music Psychology, is an Artistic Research coach for Masters students at Codarts in Rotterdam, and performs and collaborates with artists from diverse disciplines.

Pawel Kruk is an artist based in Bolinas, California. Kruk approaches each new piece like a novelist would a blank page: true and untrue fuse together, projects evolve, change, and are rewritten according to which character enters the story.

Image: Collette Rayner, Note you but I (in the key of reading plumbing as partners) (still), 2017. Animation.

The Piet Zwart Institute Master Fine Art is pleased to invite you to KINO for an evening with the Brussels-based production and distribution platform Auguste Orts, founded in 2006 by Herman Asselberghs, Sven Augustijnen, Manon de Boer and Anouk De Clerq. The four artists, who all individually work predominately with the moving image, describe their practice as ‘…at the crossroads of cinema, video, audiovisual arts, documentaries, experimental films… where media and disciplines cross-fertilize each other.’ Closely collaborating with the organization’s director Marie Logie and business director Ann Goossens on facilitating both the production and distribution of their own projects, Auguste Orts attempts to address a wider discourse through supporting other artists (so-called guest productions) and occasionally organizing talks and screening programs.

Herman Asselberghs and Marie Logie have chosen to present two films at KINO, Asselberghs’s For Now (2017) and Fairuz & El Moïz Ghammam’s Oumoun (2017), the Dutch premiere for both.

For Now
Herman Asselberghs, video, color, 4:3, stereo, Dutch spoken (Eng. St), BE, 2017, 32’
In times of great turmoil, time comes to a standstill.
The central two movements in For Now are horizontal panoramas shots and firm, vertical edits. They show shifts of place without the journey. Nature, the wind, movement that occurs all on its own: this would seem to be the film’s real subject matter. The film unfolds in waves. Locations come and go, and come back again – Lewinsky Park, Maximilian Park, Habima Square, Lion Square, Zucotti Park, Times Square or pastoral landscapes at opposite ends of the Mediterranean Sea. The actions are the same: people wait, pass by, kill time. The contrasts between refugees and citizens, between tourists and activists, between Israelis and Palestinians, between Europeans and Americans, all become less clear. The repetition of these unclarified relationships, Asselberghs’ decisively filming after the fact, the enigmatic inclusion of hand signals – all these work together to reveal a certain constellation in which things again come together momentarily before taking their leave. It is a film running alongside the events, and alongside time. A contemporary film in the pure sense of the word – a way of being with time.

Oumoun
Fairuz & El Moïz Ghamman, BE/TN, 2017, 14’
A dialogue across languages, across cultures, across generations.
‘Dear grandma, you’ll be surprised to hear my voice in your language…’ Those are the first words in a prerecorded, spoken letter never sent but instead played aloud in real time by the Brussels filmmaker to her elderly grandmother in Mahdia, Tunisia. In the company of the camera, the lines easily turn into a voice over that, merely by listening and looking attentively, in turn gradually transforms into a dialogue across languages, across cultures, across generations.